Spatial Sound Synthesis in Computer-Aided Composition

Schumacher, Marlon; Bresson, Jean

doi:10.1017/s1355771810000300

Cited by 9 publications

(8 citation statements)

References 22 publications

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“…In these tasks, the standard mouse-based interaction techniques separate the 3D positional control, but there has been interest in advancing this for more integral interaction techniques. A popular method in 3D graphics is to use the mouse and ray-casting techniques (Van Emmerik, 1990;Schumacher and Bresson, 2010;Bresson and Schumacher, 2011), but this is not widely used in consumer based 3D audio production tools. Available 3D audio software tools, such as 3DC Lib in OpenMusic (Bresson and Schumacher, 2011), Spat library for Max (Carpentier, 2015), and Spatial Audio Workstation 1 , provide multiple 2D planes that represent the same 3D space, allowing users to compose and edit 3D audio trajectories.…”

Section: Related Workmentioning

confidence: 99%

Comparison of spatial and temporal interaction techniques for 3D audio trajectory authoring

Mathew

Huot²,

Katz

2019

J Multimodal User Interfaces

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With the popularity of immersive media, developing usable tools for content development is important for the production process. In the context of 3D audio production, user interfaces for authoring and editing 3D audio trajectories enable content developers, composers, practitioners, and recording and mixing engineers to define how audio sources travel in time. However, common interaction techniques in 3D audio production tools can make the workflow of this task tedious and difficult to accomplish. This study investigates this problem by classifying the atomic tasks (spatially and temporally) of a general composite task of authoring 3D audio trajectories and then evaluating different interaction techniques across these tasks. Common graphical user interfaces were compared with input devices having varying degrees-of-freedom for spatial atomic tasks in order to investigate the effect of direct manipulation and integrality of interaction techniques. Continuous and discrete interaction techniques were compared for temporal tasks in order to investigate the effect of direct manipulation. Results suggest that interaction techniques with high degrees of integrality and direct manipulation reduce task completion time compared to standard GUI techniques. The design of temporal tasks can create a visual bias, and discrete-time controls can be a suitable method for traversing a small number of control points. These results and further observations provide directions on the study of interaction technique design for 3D audio tools, which in turn should improve workflows of 3D audio content creation.

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Section: Related Workmentioning

confidence: 99%

Comparison of spatial and temporal interaction techniques for 3D audio trajectory authoring

Mathew

Huot²,

Katz

2019

J Multimodal User Interfaces

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“…In the OpenMusic computer-aided composition environment, a number of tools and libraries exist that allow the integration of the algorithmic generation of trajectories to compositional processes and offline spatial audio rendering [Bresson, 2012]. In particular, the OMPrisma library provides a compositional toolbox featuring algorithmically driven manipulations of spatial parameters [Schumacher and Bresson, 2010]. These tools lack real-time feedback and monitoring of dynamic aspects, since the composers have to convert the graphical scores into control data or sounds before hearing and assessing any audio results.…”

Section: Spatial Authoringmentioning

confidence: 99%

“…One involves extending real-time environments with time-oriented structures [Schnell et al, 2009, Agostini andGhisi, 2013]. The other one consists of integrating audio processing engines within offline computer-aided composition frameworks [Laurson et al, 2005, Schumacher and Bresson, 2010. In this paper we aim at blending these two solutions so that composers can explore and assess their ideas though real-time interaction while specifying the temporal aspects of digital sound processing.…”

mentioning

confidence: 99%

Interactive-compositional Authoring of Sound Spatialization

Garcia

Carpentier

Bresson

2016

Journal of New Music Research

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SPAT-SCENE is a graphical user interface and spatial sound processor embedded in computer-aided composition software. It combines the interface and the rendering engine of Ircam Spatialisateur with a compositional and temporal control of spatial scene descriptors. Previous studies of the composition process as well as interviews with the composers themselves emphasized the needs for tools integrated within compositional environments allowing for interactive input, visualization and manipulation of spatiotemporal data in spatial scene descriptions. The SPAT-SCENE interface addresses such requirements by providing a timeline view synchronized with the spatial view of the Spatialisateur, three-dimensional editors as well as several internal and external rendering possibilities, all in a unified framework. SPAT-SCENE is implemented in the OpenMusic visual programming language, and so can be articulated with other musical structures and compositional processes. Through the case study of sound spatialization, this work tackles the challenge of authoring real-time processes in a compositional context.

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“…In particular, the integration of the CHANT synthesizer (Rodet, Potard, and Barrière 1984) in this environment shall emphasize interesting issues about how this continuous conception can be tackled in OMChroma. Current research has also focused on sound spatialization and the introduction of spatial rendering in the OMChroma framework (Schumacher and Bresson 2010).…”

Section: )mentioning

confidence: 99%